Welcome
to my first Inklings column. Every month I'll be doing a feature
on the business side of writing paranormal romance. This can include
anything from research tips to the latest market news. I'd like
the column to appeal to both readers and authors alike, so if any
PNR lister has an idea they think would fit INKLINGs, please email
me at: pnr4staff@yahoo.com
. I'll also be looking for editors, agents, cover artists, etc.
who might want to be featured in the future.

This month's feature is an interview with Linda Griffin, author
of The Writer's Guide To Critique Groups. I hope you enjoy the article!

???Your book THE WRITER'S GUIDE TO CRITIQUE GROUPS deals with various
methods
of critiquing from self-editing to critique groups, pretty much covering
something for everyone. Can you tell a bit about what prompted you to write
this book?

ANSWER: I
wrote the book because I had so many authors telling me about problems
they had either finding a critique group that suited them or that
their critique group wasn't helping them. Some wanted to form a
critique group but had no idea how to make sure they were setting
up an effective group that would help them with their writing.

I think a lot of writers, beginning writers particularly, don't
always understand the exact purpose of a critique group, which is
to help you polish your work to the point that it's saleable. It's
been my observation that a good critique group will end up with
at least half their group, if not all of them, published within
5 years. Unfortunately, many people don't really understand what
a critique group is or what it should do. They think that line editing
is critiquing, and that isn't true. Critiquing involves evaluating
the plot and characters to make sure that what the writer intends
to happen is happening. Line editing is polishing sentence structure
and grammar.

???As a publisher of paranormal books, what is the biggest problem you see
in
submissions and how can authors improve on this by learning the fundamentals
of good critiquing?

ANSWER:The
biggest problem I see is that many authors seem to be "hedging their
bet" when writing a paranormal. It's as if they write the story
on the premise that if it doesn't sell as a paranormal, they can
lift out the paranormal elements and market the book as a romance.
I'm not sure if writers do this consciously or subconsciously, but
the problem is, if the paranormal elements aren't integral to the
storyline, then the story doesn't work. A good critique group should
help the writer realize when the paranormal elements are not integral
to the storyline and how to make them so. The second problem I see
is tone. Most paranormals are dark and eerie. They need to start
out with the dark, eerie elements from the beginning of the book
and many stories don't do that, or they don't maintain that tone
throughout the book. Again, a good critique group or critique partner
could help the author make sure the dark, eerie tone is prevalent
throughout the book.

???What are the basics an author should look for when searching for a
critique
group? And do you think they should look for an overall critique group or
one
specifically geared toward the genre they're writing in?

ANSWER:The
first thing an author should do is look at the time they have available
for a critique group. A critique group should have all members writing
a minimum number of pages a week, and you, as a member of the group,
must be able to read and critique the others' works while still
finding time to write your own book. Many times, authors join a
group, not realizing the time it will entail. How much time you
have to spare will determine the size of the group you can or should
be in. It can also tell you if you should look for a critique partner
instead of a group. The author also needs to ask themselves if they
can give and take constructive criticism. It's difficult to listen
to someone tear your work apart. The natural response is to get
angry and retaliate by tearing the critic's work apart or to take
it so personally that it makes you depressed and unable to write.
You must be able to curb that instinctual response to criticism
and take it in the spirit it is given. The word "critique" implies
criticism, and the purpose of a critique group is to make your work
better. If all you're looking for is a pat on the back and being
told how wonderfully you write, then you don't want a critique group.
Give your manuscript to friends and family who will love anything
you write.

???I found your book with it's 'Blueprint For A Critique' chapter
to be invaluable. In my opinion, the breakdown and checklists are
a must have for any author. Is there any one part of this blueprint
you think is the most important for an author to be aware of?

ANSWER:
I personally believe that being able to evaluate the middle of a
book is the most important aspect of the blueprint. Most authors
have a wonderful beginning and a wonderful ending because they know
exactly how they want to start the book and how they want it to
end. But books often fall flat in the middle because it's the getting
from Point A to Point Z that's the difficult part of writing. If
you can't keep the reader entranced through the middle of the book,
it won't matter how good your beginning or your ending is. So, in
my opinion, the middle is the part of the book that demands the
most attention during a critique.

??? Can you give us a basic breakdown of the contents of in your book?

ANSWER: The
first part of the book is geared more toward beginning writers or
the writer who is no longer a beginner but is now at the point that
they need help in tightening a manuscript they've written. It gives
you basic questions to answer as to whether or not you're suited
for a critique group or if you'd be better off with a critique partner
or even staying on your own. It also helps you discover if you know
exactly what a critique is and how to perform one if you don't.

Once you decide if you're suited to a critique group, you have a
series of questions to determine how to choose or form a critique
group. It's important that you determine the type of group that
suits your needs. Some people want a group that will say, "That
scene sucks swamp water." Others would be devastated by that type
of group. That's why it's important that you choose a group that
will help you improve your writing and your manuscript.

If you determine that you aren't suited for a critique group or
don't have the time for one, you'll learn how to find and select
a critique partner, and you'll learn the advantages and disadvantages
of a critique partner.

Finally, there's a blueprint for a critique that will help you evaluate
yours and others works, including samples that show the difference
between a critique and line editing. I think this part of the book
is good for any writer, beginning or seasoned, because it makes
you focus on the elements that make a good story.

I've received a lot of feedback from authors on the blueprint. Most
felt that they and/or members of their critique group really didn't
know how to do a proper critique, and the blueprint gave them the
information they needed to do so.

But as I say in the book, a critique group or a critique partner
is simply a writing tool. The most important question you need to
ask yourself is: Will a critique of my work make me a better writer?
You can find an answer to that question by honestly answering the
questions in my book and determining if you're truly suited for
a critique atmosphere, or if you're the type of writer that will
do better being on your own.